Page:A Grammar of Japanese Ornament and Design (1880).djvu/28

10 securely attached to the obi, or broad band encircling the waist. The true netsuke is a kind of button, carved from a single piece of ivory, hard, fine-grained wood, or other materials, of such a form that it can suffer little injury from the wear and tear of daily use. Many of the carvings do not fall under this definition, being in fact mere ornaments, and are called okemono, “things for placing.” Of these okemono, the greater number, and especially the very large ones, are of recent production and are now manufactured in wholesale fashion, for the European market; more than one piece of ivory is frequently employed in their composition, ingeniously joined together with pins and glue; the maker’s name is usually to be found engraved in the Chinese square characters on some part of the netsuke. There are some carvers of note in Japan, but as the names of these artists are systematically forged, the deciphering of them is of little value in forming an estimation of the age or merit of a netsuke. The subject of the carvings is frequently taken from Chinese and Japanese history, stories of the heroes and warriors of the middle ages, legends and mythology, or humorous renderings of the types of man and beast to be seen daily in the streets or fields.

The Japanese incise, or carve in low relief, subjects on ivory tusks, frequently heightened with colour and sometimes with lacquer; they also produce, with marvellous fidelity, imitations of insects, with inlays of various stones, etc. Their temples show the fertility of their invention as carvers. Carving in stone was not so common as in wood; but in the latter material they seem to have given full scope to their wonderful feeling for decorative art. Immense panels of birds and fishes, flowers and fruits, dragons and mythological beasts, treated naturally and conventionally; delicate cut diapers, occasionally with intertwining leaves; reeded columns; and delicate and bold mouldings cut on edges of beams and posts, are to be found throughout.

Their carving is divided into three kinds: shallow, deep, and pierced. In the earlier work, such as the bronze tombs and gates of the early Shôguns, the relief is very shallow, but sharp and effective. In the later work, nearly all carving upon the outside, such as in screens, gateways, and cloisters, is pierced in parts, being cut in a thick slab of wood, so as to be viewed from either side. A striking feature of sculpture of this kind is the extremely careful imitation of natural leaves and flowers, which are carved with a delicacy and truth which is little short of marvellous. Fruit is gilt, with red dashes of colour showing the ripeness, and the greens in colouring the foliage are varied in their tone. The deep carving occurs mostly in the interior of buildings, where depth of effect is required, but at the same time there is no communication with the outer air, which would be obtained if pierced carving were used. The side panels to the gateway at Shiba are filled with thick slabs of wood, carved in the form of writhing dragons, of wonderful design and execution, cut right through, so that the design may be seen from either side. The immense variety of their conventional treatment of birds and flowers, fish and water, is as great in carving as in painting.